Hiving Mesh originates in the study of abscessed cones from a single conifer tree on the edge of the ocean where I live. My negotiation with this natural aberration in is to present a floating crystalline society of porcelain figures. The scaffolding system never permits contact among the individuals.
Three interconnected and suspended screens of hexagonal geometry hold the ceramic nodes in tension. The face of the ornament is like a cut...a hive sliced. The first of the three layers make reference to insect hives and colonies, and the only place of colour. The anterior layers are without colour and signify the misfiring of the reproduction zone.
The Mesh has no hierarchy and both figure and ground are interchangeable, a space where fixed positions are less viable than unstable ones.
details of hexagonal shapes made by rigid stainless steel wires, which maintain regular distance between porcelain 'cones'.
End/termination of mesh, held in place by acrylic bars. Acrylic bars held in place by tensioned floor-to-ceiling wires.
End/termination of mesh, held in place by acrylic tubing
6 m l. x 3 m h. x 90 cm d.
20' l. x 12' h. x 30" d.
press molded + slip cast porcelain,
Egyptian faience, mortar, custom formed stainless steel wire, lucite, cable, fittings.
Drawings and geometry from the office of Philip Beesley, architect, Toronto
2012 Bernardaud Foundation, Limoges, France
2002 Belger Art Center, Kansas City, Missouri
2000 Saint Mary's University Art Gallery, Halifax
Special thanks to Peter Eastwood, installation specialist
© 2001 by Neil Forrest
Photography by Steve Farmer, Neil Forrest